Shaftesbury’s major work Characteristicks of Men, Manners, Opinions, Times was one of the most influential English works in the eighteenth century. This paper focuses on his contributions to debates about persons and personal identity and shows that Shaftesbury regards metaphysical questions of personal identity as closely connected with normative questions of character development. I argue that he is willing to accept that persons are substances and that he takes their continued existence for granted. He sees the need to supplement metaphysical (...) debates of personal identity and believes that we have to turn to the character that is realized by a substance if we want to understand who we are. For Shaftesbury persons have a particular character, can act, and govern themselves. I propose that Shaftesbury’s approach to persons has a developmental dimension, which is meant to encourage personal development and improvement of character. The developmental dimension can be understood as an intellectual journey that invites us to search for our true self, to develop our character, and to seek happiness, which ultimately involves understanding our place as persons in the order of the universe. I show that my developmental interpretation is preferable to other existing interpretations. (shrink)

Shaftesbury started his literary career in 1698 with an edition of Whichcote’s sermons. At the same time he worked on An Inquiry Concerning Virtue and his ‘Crudities’, which were incorporated after August 1698 in the Askêmata manuscripts. In this paper I argue that Shaftesbury’s critique of John Locke is based on central ideas from Whichcote’s sermons. In his examination of Locke’s epistemology and moral philosophy he uses Whichcote’s arguments, concepts and keywords. Locke’s rejection of the ‘innate ideas’ reduces man to (...) an abstract being, ‘absolutely indifferent towards whatever is presented to him’. In opposition to this reduction he posits Whichcote’s Connatural Notions, ‘the principles of which Man doth consist, in his very first Make’, i.e. the categorial form of human feeling, discernment, understanding and judgment. These connatural principles include the idea of good and evil, i.e. the foundation of a non-legalistic, autonomous morality. (shrink)

'Most of us are still groping for answers about what makes life worth living, or what confers meaning on individual lives', writes Charles Taylor in Sources of the Self. 'This is an essentially modern predicament.' Charles Taylor's latest book sets out to define the modern identity by tracing its genesis, analysing the writings of such thinkers as Augustine, Descartes, Montaigne, Luther, and many others. This then serves as a starting point for a renewed understanding of modernity. Taylor argues that modern (...) subjectivity has its roots in ideas of human good, and is in fact the result of our long efforts to define and attain the good. The modern turn inwards is far from being a disastrous rejection of rationality, as its critics contend, but has at its heart what Taylor calls the affirmation of ordinary life. He concludes that the modern identity, and its attendant rejection of an objective order of reason, is far richer in moral sources that its detractors allow. Sources of the Self provides a decisive defence of the modern order and a sharp rebuff to its critics. (shrink)

There are problems with egoism as a theory, but what matters here is the point that intuitively ethics is thought to be about the good of others, so that focusing on your own good seems wrong from the start. Virtues are not just character traits, however, since forgetfulness or stubbornness are not virtues. Virtues are character traits which are in some way desirable. Criticism is generally renewed at this point on the grounds that claims about flourishing are now including claims (...) about virtue, and are thus no longer common ground to the defender and the critic of virtue ethics. But virtue ethics has never held that they are, so this is not a problem. It is only to be expected that the virtuous will differ from the nonvirtuous in their assessments of flourishing, because we are dealing here with virtue in the context of a formally characterized conception of flourishing. (shrink)

This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management of dialogue; and (...) it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history. (shrink)

British writers of the eighteenth century such as Shaftesbury and Hutcheson are widely thought to have used the notion of disinterestedness to distinguish an aesthetic mode of perception from all other kinds. This historical view originates in the work of Jerome Stolnitz. Through a re-examination of the texts cited by Stolnitz, I argue that none of the writers in question possessed the notion of disinterestedness that has been used in later aesthetic theory, but only the ordinary, non-technical concept, and that (...) they did not use this notion to define a specifically aesthetic mode of perception or a specifically aesthetic mode of anything else. The nearest thing that they had to the Stolnitzian conception of “the aesthetic” was their conception of taste, which differs from the former in some essential respects. (shrink)

The aim of this paper is to show that Shaftesbury’s thinking about liberty is best understood in terms of self-mastery. To examine his understanding of liberty, I turn to a painting that he commissioned on the ancient theme of the choice of Hercules and the notes that he prepared for the artist. Questions of human choice are also present in the so-called story of an amour, which addresses the difficulties of controlling human passions. Jaffro distinguishes three notions of self-control that (...) are present in the story of an amour. Although I agree with many aspects of Jaffro’s interpretation, I question his conclusion that self- control in the Stoic sense is best reserved for ‘moral heroes.’ I propose an alternative developmental interpretation, according to which all human beings are on an intellectual journey aimed at personal and moral improvement. My interpretation takes seriously that for Shaftesbury philosophy is meant to be practical and help improve our lives. I end by arguing that rather than trying to situate Shaftesbury’s concept of liberty within debates among compatibilists and incompatibilists it is more promising to understand it in terms of self- mastery and thus regard it as a version of positive liberty. (shrink)

Explores the understanding of self-consciousness and personal identity - two fundamendtal features of human subjectivity - as it developed in early modern philosophy. Udo Thiel presents a critical evaluation of these features as they were conceived in the sevententh and eighteenth centuries. He explains the arguments of thinkers such as Descartes, Locke, Leibniz, Wolff, and Hume, as well as their early critics, followers, and other philosophical contemporaries, and situates them within their historical contexts. Interest in the issues of self-consciousness and (...) personal identity is in many ways characteristic [of] and even central to early modern thought, but Thiel argues here that this is also an interest that continues to this day, in a form still strongly influenced by the conceptual frameworks of early modern thought. In this book he attempts to broaden the scope of the treatment of these issues considerably, covering more than a hundred years of philosophical debate in France, Britain, and Germany while remaining attentive to the details of the arguments under scrutiny and discussing alternative interpretations in many cases"--Publisher's description, p. [4] of dust jacket. (shrink)

[Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised in (...) the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes (or contains) what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy. /// [Anthony Savile] (1) If Shaftesbury is to be seen as the doyen of modern aesthetics, his most valuable legacy to us may not so much be his viewing aesthetic response as a sui generis disinterested delight as his insistence on its turning 'wholly on [experience of] what is exterior and foreign to ourselves'. Not that we cannot experience ourselves, or what is our own, as a source of such admiration. Rather our responses, favourable or no, are improperly grounded in any essentially reflexive, or first-personal, ways of taking what engages us. The suggestion is tested against the case of Narcissus. (2) Glauser interestingly emphasizes Shaftesbury's neo-Platonic conception of a hierarchy of aesthetic experience that culminates in the joyful contemplation of God. That hierarchy must be something that is less unitary and systematic than Shaftesbury himself had supposed, even when his emphasis on the tie between aesthetic pleasure and contemplative experience is allowed to extend beyond perception and to encompass episodes of thought itself. (shrink)

From Thomas Hobbes to Jeremy Bentham, 'British Moralists' have questioned whether being virtuous makes you happy. Roger Crisp elucidaties their views on happiness and virtue, self-interest and sacrifice, and well-being and morality, and highlights key themes such as psychological egoism, evaluative hedonism, and moral reason in their thought.

The problem of evil is not only a logical problem about God's goodness but also an existential problem about the sense of God's presence, which the Biblical book of Job conceives as a problem of aesthetic experience. Thus, just as theism can be grounded in religious experience, atheism can be grounded in experience of evil. This phenomenon is illustrated by two contrasting literary descriptions of aesthetic experience by Jean-Paul Sartre and Annie Dillard. I illuminate both of these literary texts with (...) a discussion of the 18th Century philosopher Lord Shaftesbury's concept of ‘enthusiasm’. (shrink)

Uncovering the historical roots of naturalistic, secular contemporary ethics, in this volume Michael Gill shows how the British moralists of the seventeenth and eighteenth centuries completed a Copernican revolution in moral philosophy. They effected a shift from thinking of morality as independent of human nature to thinking of it as part of human nature itself. He also shows how the British Moralists - sometimes inadvertently, sometimes by design - disengaged ethical thinking, first from distinctly Christian ideas and then from theistic (...) commitments altogether. Examining in detail the arguments of Whichcote, Cudworth, Shaftesbury, and Hutcheson against Calvinist conceptions of original sin and egoistic conceptions of human motivation, Gill also demonstrates how Hume combined the ideas of earlier British moralists with his own insights to produce an account of morality and human nature that undermined some of his predecessors' most deeply held philosophical goals. (shrink)

This paper examines Shaftesbury’s reflections on the nature of philosophy in his Askêmata notebooks, which draw heavily on the Roman Stoics Epictetus and Marcus Aurelius. In what follows, I introduce the notebooks, outline Shaftesbury’s account of philosophy therein, compare it with his discussions of the nature of philosophy in his published works, and conclude by suggesting that Pierre Hadot’s conception of ‘philosophy as a way of life’ offers a helpful framework for thinking about Shaftesbury’s account of philosophy.

This is the second of three volumes which together comprise a selective historical and critical study of the development of moral philosophy. This volume covers ethics from the 16th to the 18th century, and features illuminating discussion of such great thinkers as Suarez, Grotius, Hobbes, Hutcheson, Hume, Reid, Butler, and Rousseau.

Printed in Great Britain. Erratum slip inserted.

Providing a gateway to a new history of modern aesthetics, this book challenges conventional views of how art's significance developed in society. -/- The 18th century is often said to have involved a radical transformation in the concept of art: from the understanding that it has a practical purpose to the modern belief that it is intrinsically valuable. By exploring the ground between these notions of art's function, Karl Axelsson reveals how scholars of culture made taste, morals and a politically (...) stable society integral to their claims about the experience of nature and art. -/- Focusing on writings by two of the most prolific men of letters in the 18th century, Joseph Addison (1672–1719) and the third Earl of Shaftesbury (1671–1713), Axelsson contests the conviction that modern aesthetic autonomy reoriented the criticism and philosophy originally prompted by these two key figures in the history of aesthetics. -/- By re-examining the political relevance of Addison and Shaftesbury's theories of taste, Axelsson shows that first and foremost they sought to fortify a natural link between aesthetic experience and modern political society. (shrink)

In the Introduction to his Treatise of Human Nature, David Hume credits “my Lord Shaftesbury” as one of the “philosophers in England, who have begun to put the science of man on a new footing.” I describe aspects of Shaftesbury’s philosophy that justify the credit Hume gives him. I focus on Shaftesbury’s refutation of psychological egoism, his examination of partiality, and his views on how to promote impartial virtue. I also discuss Shaftesbury’s political commitments, and raise questions about recent interpretations (...) that have taken his Characteristicks to be a polemic, partisan text. (shrink)

How do our feelings for others shape our attitudes and conduct towards them? Is morality primarily a matter of rational choice, or instinctual feeling? Joseph Duke Filonowicz takes the reader on an engaging, informative tour of some of the main issues in philosophical ethics, explaining and defending the ideas of the early-modern British sentimentalists. These philosophers - Shaftesbury, Hutcheson, Hume, and Smith - argued that it is our feelings, and not our 'reason', which ultimately determine how we judge what is (...) good or bad, right or wrong, and how we choose to act towards our fellow human beings. Filonowicz draws on contemporary sociology and evolutionary biology as well as present-day moral theory to examine and defend the sentimentalist view and to challenge the rationalistic character of contemporary ethics. His book will appeal to readers interested in both the history of philosophy and current ethical debates. (shrink)

Anthony Ashley Cooper, the Third Earl of Shaftesbury, was the grandson of the First Earl of Shaftesbury. The First Earl, along with John Locke, was a leader and founder of the Whig movement in Britain. Locke was the First Earl's secretary and also the tutor of the Third Earl. Both the First and Third Earls were members of parliament and supporters of Whig causes. Although both the First and Third Earls were involved in politics, the Third Earl is better known (...) for intellectual pursuits. Indeed, the Third Earl is second only to Locke in terms of influence during the eighteenth century. Yet if one takes into account effects upon literature, the arts, and manners, as well as upon philosophical trends and theories, Shaftesbury might be even more influential. Even if we restrict ourselves to philosophy, Shaftesbury's ideas were admired by thinkers as different as Leibniz and Montesquieu—something which could obviously not be said about Locke. Within ethics, Shaftesbury influenced Francis Hutcheson, David Hume, Samuel Butler, and Adam Smith and is credited with founding the “moral sense” school of thought. (shrink)

The third Earl of Shaftesbury was a pivotal figure in eighteenth-century thought and culture. Professor Klein 's study is the first to examine the extensive Shaftesbury manuscripts and offer an interpretation of his diverse writings as an attempt to comprehend contemporary society and politics and, in particular, to offer a legitimation for the new Whig political order established after 1688. As the focus of Shaftesbury's thinking was the idea of politeness, this study involves the first serious examination of the importance (...) of the idea of politeness in the eighteenth century for thinking about society and culture and organising cultural practices. Through politeness, Shaftesbury conceptualised a new kind of public and critical culture for Britain and Europe, and greatly influenced the philosophical and cultural models associated with the European Enlightenment. (shrink)

Are human beings linked by a common nature, one that makes them see the world in the same moral way? Or are they fragmented by different cultural practices and values? These fundamental questions of our existence were debated in the Enlightenment by Locke, Shaftesbury, and Hutcheson. Daniel Carey provides an important new historical perspective on their discussion. At the same time, he explores the relationship between these founding arguments and contemporary disputes over cultural diversity and multiculturalism. Our own conflicting positions (...) today reflect long-standing differences that emerged during the Enlightenment. (shrink)

[Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised in (...) the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy. /// [Anthony Savile] If Shaftesbury is to be seen as the doyen of modern aesthetics, his most valuable legacy to us may not so much be his viewing aesthetic response as a sui generis disinterested delight as his insistence on its turning 'wholly on [experience of] what is exterior and foreign to ourselves'. Not that we cannot experience ourselves, or what is our own, as a source of such admiration. Rather our responses, favourable or no, are improperly grounded in any essentially reflexive, or first-personal, ways of taking what engages us. The suggestion is tested against the case of Narcissus. Glauser interestingly emphasizes Shaftesbury's neo-Platonic conception of a hierarchy of aesthetic experience that culminates in the joyful contemplation of God. That hierarchy must be something that is less unitary and systematic than Shaftesbury himself had supposed, even when his emphasis on the tie between aesthetic pleasure and contemplative experience is allowed to extend beyond perception and to encompass episodes of thought itself. (shrink)